{"id":43,"date":"2025-01-17T18:24:26","date_gmt":"2025-01-17T18:24:26","guid":{"rendered":"https:\/\/blogs.napier.ac.uk\/nsag\/?page_id=43"},"modified":"2025-01-17T19:49:20","modified_gmt":"2025-01-17T19:49:20","slug":"sound-graphics","status":"publish","type":"page","link":"https:\/\/blogs.napier.ac.uk\/nsag\/sound-graphics\/","title":{"rendered":"Sound & Graphics"},"content":{"rendered":"\n

The pacing and timing of New Signs for Animation: AnimSign<\/em> (Dir. Mortimer, 2024) were determined by the Signer (see Appendix 2 – which compares timing of sound effects in the BSL & ASL versions), to ensure that the visuals aligned seamlessly with the signing and narration. This approach avoided the risk of visuals progressing too quickly, which could confuse the context of the script for sign language users. The spoken narration was carefully synchronized with the signer\u2019s performance, using milestone words and signs as anchors to maintain alignment with the script. These anchor points facilitated smoother transitions between animated sequences and ensured a cohesive viewing experience.<\/p>\n\n\n\n

\"\"<\/figure>\n\n
<\/br>\n\n

Appendix 2 – Comparing timing of sound effects in the BSL & ASL versions<\/strong><\/p>\n\n\n\n

 <\/td> <\/td>TIME (Minutes \/ Seconds)<\/td><\/tr>
Comic style Sound Graphics (NO.)<\/td>Graphic Description<\/td>BSL version timeline<\/td>ASL version timeline<\/td>Time difference<\/td><\/tr>
0<\/td>Start<\/td>00:00<\/td>00:00<\/td>n\/a<\/td><\/tr>
1<\/td>Intro<\/td>00:15<\/td>00:15<\/td>n\/a<\/td><\/tr>
2<\/td>CLICK<\/td>00:19<\/td>00:19<\/td>n\/a<\/td><\/tr>
3<\/td>THUD & DING<\/td>00:25<\/td>00:27<\/td>00:02<\/td><\/tr>
4<\/td>PING<\/td>00:47<\/td>00:37<\/td>00:10<\/td><\/tr>
5<\/td>CLICK<\/td>01:15<\/td>01:04<\/td>00:11<\/td><\/tr>
6<\/td>COUGH & SINE WAVE<\/td>01:18<\/td>01:06<\/td>00:12<\/td><\/tr>
7<\/td>MOUSE CLICK<\/td>01:22<\/td>01:09<\/td>00:13<\/td><\/tr>
8<\/td>ELECTRIC HUM<\/td>01:53<\/td>01:35<\/td>00:18<\/td><\/tr>
9<\/td>MOUSE CLICK<\/td>02:00<\/td>01:41<\/td>00:19<\/td><\/tr>
10<\/td>CRACKING & CRACK<\/td>02:20<\/td>01:51<\/td>00:29<\/td><\/tr>
11<\/td>STAMP<\/td>02:43<\/td>02:10<\/td>00:33<\/td><\/tr>
12<\/td>TURNING PAGE<\/td>02:48<\/td>02:15<\/td>00:33<\/td><\/tr>
13<\/td>MECHANICAL TURNING<\/td>03:05<\/td>02:26<\/td>00:39<\/td><\/tr>
14<\/td>TURNING PAGE<\/td>03:28<\/td>02:41<\/td>00:47<\/td><\/tr>
15<\/td>THUD<\/td>03:40<\/td>02:49<\/td>00:51<\/td><\/tr>
16<\/td>CLICK<\/td>04:10<\/td>03:07<\/td>01:03<\/td><\/tr>
17<\/td>Credits<\/td>04:15<\/td>03:12<\/td>01:03<\/td><\/tr>
18<\/td>End<\/td>06:15<\/td>05:12<\/td>01:03<\/td><\/tr><\/tbody><\/table><\/figure>\n","protected":false},"excerpt":{"rendered":"

The pacing and timing of New Signs for Animation: AnimSign (Dir. Mortimer, 2024) were determined by the Signer (see Appendix 2 – which compares timing of sound effects in the BSL & ASL versions), to ensure that the visuals aligned seamlessly with the signing and narration. This approach avoided the risk of visuals progressing too […]<\/p>\n","protected":false},"author":465,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_crdt_document":"","footnotes":""},"class_list":["post-43","page","type-page","status-publish","hentry"],"yoast_head":"\nSound & Graphics - New Signs for Animation & Games<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogs.napier.ac.uk\/nsag\/sound-graphics\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sound & Graphics - New Signs for Animation & Games\" \/>\n<meta property=\"og:description\" content=\"The pacing and timing of New Signs for Animation: AnimSign (Dir. 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